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Yamaha YTR-9335NYS Custom Artist Model Series Bb TrumpetThe Yamaha YTR-9335NYS trumpet was designed to solve issues Robert Sullivan had with his previous trumpets. He had played Yamaha Bb trumpets for quite a few years and loved the even scale, intonation and responsiveness, but often felt that the trumpet needed more depth of tone and was difficult to shade colors the way his other horns could. His Yamaha trumpets also did not open up at extreme dynamics as he would have liked. Robert owned two trumpets of another brand, one from the mid '70s and a new horn from around 1999 that were used as examples of the deep, rich tone he liked. While they allowed him to change the color better than the Yamaha, sometimes there was no control over the color changes. He also felt the scale to be uneven and out of tune, and the response was very slow. An artist of Sullivan's caliber wanted a trumpet that combined the best qualities of both instruments: richness of tone, flexibility and control of color changes, an even scale, good intonation and good response. The goal when working on this trumpet with Yamaha trumpet designer Bob Malone was always focused on two factors: sound and feel. First, don't confuse tone with sound. Tone is just one part of the overall sound - the way that you string together a series of notes creates your unique sound. Then you need to add heart, soul, character and expression. Those aspects require that the trumpet feels good to you. There needs to be a comfort level that allows the player to focus on the music, not the trumpet. Robert Sullivan needed a trumpet that allows for total freedom of expression. He remarked, "The instrument should be an extension of my voice, an amplifier of my thoughts. If the blow doesn't feel right or I have to battle intonation problems or I cannot control the color, then I can't focus 100% of my energy on the music."The process of developing this trumpet focused on identifying the issues they wanted to correct and then systematically correcting each one. Developing a trumpet that sounded great and felt good was the goal. This is an instrument that will be comfortable in the hands of a non-Yamaha player who is looking to add the best qualities of a Yamaha. It will also be very comfortable to those players who are already playing Yamaha, but want more flexibility and a richer tone. Variable wall thickness bellThe combination of the variable bell thickness on this Yamaha trumpet combined with a unique side-seam design helps the player produce a full, rich sound. Variable wall thickness simply means that the bell material gets thinner as it flares out towards the bell rim.MB2 mouthpipeWider slotting provides quick response and excellent intonation.French bell bead rim with low dome wireA low-profile French bead bell rim improves overall projection due to the refined, sharper bell rim edge.Skeletonized valve stemThe valve stems have been designed to allow for increased flexibility in instrument response and timbre. Engraved Artist Model logoThe bell engraving was achieved using a minimally invasive method. This technique has little effect on the overall temper of the bell material.Narrow brace setReminiscent of designs from the 1930s, 40s and 50s, a narrower brace helps give this Yamaha trumpet a quicker response and transmit vibrations efficiently. High water key chimneyThe larger gap created by an extended water key chimney improves resistance characteristics and overall tone.
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Choose from the folowing Yamaha Warranties:
This horn is amazing because of the sound it produces. I switched from my dads old bach stradavrious until I got my ZENO and I have loved this horn since I got it. I mean yamaha's horn line trumpet or tuba's are great that is why half of DCI corps use them and are succesfull because they are that good and play great. I got my horn last year from the crossmen and I have played it since. You can check some corps for horns like this one to.
I have been playing a Bach 37 for 4 years now. I have liked it, but always wondered if there was something better out there. I purchased this horn and it has been a little bit now and it is the most amazing horn I have played.
Like it has been said, the security with this horn is unparalleled. I have not played a trumpet that sits so well with every note. Not only that, but it feels as though all notes are within one one of eachother, an octave feels like a whole step (very easy to get around the horn quickly). Extremes are easy to achieve. The softs retain their core quality and the louds shine and you don't have to struggle to play them.
Compared to the Bach, it is similar and will take no problem getting used to. It has all the great qualities of Bach without the problems (response, unevenness, intonation, etc.). I have an alignment on my Bach and this horn plays more even, more in tune, and extremely responsive right out of the box.
This is what playing trumpet should feel like, easy. For an all around great Bb trumpet, the NYS is the way to go.
I have played a Bach Strad for over 5 years previous to buying this horn. I really had no idea what to expect as I'd never played any of the Xeno models, but as soon as I blew into the horn I knew that this trumpet was for me. The quality of the sound and resonance of the horn is incredible, and it plays so effortlessly. I believe it has much less resistance than the Strad models. The upper range is really impressive on this horn, though it sounds fantastic in all registers. If you are searching for a horn that will be the last Bb you will ever buy, I would recommend this trumpet.
This and the Chicago are the two best Bb trumpets I've ever played. Period.
The New York model plays a bit darker and rounder to my ear, but still with that nice brilliance you want. Both are versatile instruments and have an absolutely fantastic blow, but the New York is more of a Bb where the the Chicago plays like a slightly "fatter" C trumpet. Another way to put it would be that the New York is more of a Bach-ish horn instead of the more brilliant, modern-sounding Chicago. The New York seems a little more open, but neither is restrictive at all - it's a hard feeling to describe. The slots are a little more fluid in the New York, with the Chicago more defined.
I prefer the New York, but that is personal. You truly cannot go wrong with either one. The only issue is that for the price, you could get a truly custom instrument from various smaller builders, such as Larson (which have similar design concepts) or Shires. Try the Yamahas in any case - they're just too good to pass up completely.
I have played a 1974 Bach for 30 years and I felt like somewhat of a traitor switching to a Yamaha. I have been very pleased with this horn. The tone is crisper, somewhat lighter than the Bach. But to make up for this, it is easier for lip slurs and I hardly ever crack or drop a note. I've played it in a rock group and also on Easter Sunday and have not gone back to the Bach!!
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